Their ACTOR’S CRAFT – What SPEAKERS need to know

In an Actors’ Studio interview, Ralph Fiennes said that in his audition for RADA he was told not to make it happen but to let it happen. And that that advice changed his work.

And here are many ways of saying it, so it might sink in. Because when I first heard “get out of your own way”, “leave yourself alone” at the American Academy of Dramatic Arts in New York, I didn’t get it.

What does it really mean? How do you go about
learning to do this?

LET IT HAPPEN. Don’t make it happen.

All your attention has to be on the person/audience you are speaking to– totally. Making eye communication – not eye contact – is what matters here. That means listening to what you are getting from your partner/audience and adjusting accordingly.

You have to give yourself over to revealing yourself (it communicates your humanity and what you and the audience have in common).

GIVE UP ON PERFECTION – It is the enemy of great.

You really have to STOP directing yourself. You need to stop anticipating, judging, watching, and comparing.

And it can’t be stressed enough. YOU NEED TO BE VERY PRESENT – much more than you are in every day life. Ask any actor or athlete. If they wander for a second from the “scene” or the “ball” and what is happening around them, they miss a beat and the audience, fellow players/actors know and everything is way off.

YOU NEED TO BE VERY PRESENT

TRUST, trust, trust yourself and your instincts, no matter how “wrong” they seem in your mind. Your judgmental mind doesn’t belong in the scene.
Marlon Brando in “Last Tango in Paris” laughs when his father dies. It makes complete sense when you see it. TRUST.

AND MOST IMPORTANT – Remember it’s not about you – it’s about the story, the gift you are giving, the audience you are giving it to.

Frank Langella, Theatre and Film Star

“I do what works. I believe that acting is a wilderness and that just as you reach a clearing, feeling safe and secure, it’s time to march back into the wilderness. I subscribe to no method, no school, no approach. Providing an actor can speak, move, read English, and memorize, the rest is up for grabs.

There are, of course, certain basics. You must own your lines as you own your own toes. You must know what they mean and you must mean them when you say them. But, that done, the mystery of acting will remain your lifetime companion.

I have learned most from audiences, too often ignored by actors, as if somehow doing it for them is contrary to the truth of their art. Audiences have to hear you, they have to understand you, and they must be moved to laughter or tears by what you do. It is their comfort actors must consider – their pleasure. Actors send life across the footlights and audiences send back the reward.

It is, of course, not as simple as all that. If it were, anyone could do it, and anyone can’t. You need breath, stamina, skill and talent. The first three you can acquire, the latter you can’t. If you are blessed with talent, respect it and cherish it.

Young actors should, early on, rid themselves of the notion that there is a “right” way to act. There is only what works and, in order to come close to what works each night, an actor cannot burden himself with anything that does not result in the truth of the moment, and in the communication of that truth to his audience.

There is much to learn from the investigation of all theories, all styles of acting, and all approaches. But after he absorbs all he needs, the actor must be ready to forget it. He must take a deep breath, call upon his stamina and skill, trust in his talent and go out there and be.

All else is a wilderness in which the actor must happily wander.”

TWO ACTORS AND THE MOON

From The Invisible Actorby Yoshi Oida

“In the Kabuki theatre, there is a gesture which indicates ‘looking at the moon’, where the actor points into the sky with his index finger. One actor, who was very talented, performed this gesture with grace and elegance. The audience thought: “Oh, his movement is so beautiful!” They enjoyed the beauty of his performance, and the technical mastery he displayed.

Another actor made the same gesture, pointing at the moon. The audience didn’t notice whether or not he moved elegantly; they simple saw the moon.”

Your audience wants to see the moon, the message, the experience, not you.

* * *

Barbara Kite is an executive speaking and professional acting coach, director and actress in Portland Oregon.www.barbarakite.com

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About Barbara Kite

I am someone who is passionate about, and totally committed to, coaching speakers and actors in mastering the art of communication through acting skills. With nearly 30 years experience, I create a safe and challenging space in which all can develop their skill. Whether you are connecting with an audience through a play or a presentation, I will help you make that connection genuine, moving, and memorable.

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Julia Thompson, City of Portland Bureau of Planning and Sustainability

What did you hope to gain from Barbara's Workshop?

"I hoped to find an alternative approach for my staff to get out of their heads, think on their feet, and grow as better public speakers so they can get our message across. I was attracted to her approach of using acting skills to improve speaking because it tackles the real barriers that block us from being effective speakers ...

...my staff came back really excited and wanted to do more. They really liked her style."read more